Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education最新文献

{"title":"Lester Young’s performance poetics and performance style: the experience of analysis","authors":"Qi Zhang","doi":"10.34064/khnum1-61.07","DOIUrl":"https://doi.org/10.34064/khnum1-61.07","url":null,"abstract":"The research focuses on the system of performance resources of expression of a jazz musician, which received the title of “performance poetics” and “performance style”. L. Young’s creative work has repeatedly been the subject of research, in particularly, in publications by L. Porter (1981) and D. Daniels (1985; 2002; 2005), one of the outstanding biographers of the jazz master. D. Gelly (2007) includes L. Young into the pantheon of the most influential jazz performers reflecting the components of his performance style. J. P. De Lucia (2017) calls L. Young a key figure at the beginning of swing era. The scientific novelty of our study lies in the development of aspects of the analysis of the performance poetics of jazz musicians basing on L. Young’s creativity. The purpose of the article is to identify the parameters of Lester Young’s performance poetics. As the research methods the communicative-interpretative, systematic, stylistic approaches and the performance analysis are used. The analysis of performance poetics is based on the Kharkiv I. P. Kotlyarevsky National University of Arts musicologists’ developments: by L. Shapovalova (2007) devoted to the “performance time-space” concept and Yu.Nikolaievska’s monograph (2020) on the performance interpretology. The results of the study are based on the analysis of L. Young’s compositions the “Squabblin” and the “Blue Devils Blues”; on his work as a soloist-improviser in King Oliver’s orchestra and in the band “Blue Devils”. Conclusion supports the idea of performance poetics as an artistic system, which is a “reflection of the musician’s interpretative thinking” (Nikolaievska, 2020) in such parameters as melody, metro-rhythm, tonality, harmony, texture and the corresponding “toponyms” – articulation, tempo-rhythm, dynamic score, and “toponymics” as performance reproduction of texture. It is articulated оn such positions as unique timbre and sound production (specific position of the mouthpiece), expansion of harmonious thinking (melodic use of fourths and fifths, “horizontal” concept of phrasing). L. Young’s unique performing style is based on the principles of “stretched sound”, “horizontal” concept of improvisation, intense vibrato and the formation of a performance as a reflection act.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133487680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The influence of the converter system on the contemporary accordion performance","authors":"G. Pescada","doi":"10.34064/khnum1-61.01","DOIUrl":"https://doi.org/10.34064/khnum1-61.01","url":null,"abstract":"Abstract. In the second half of the XX century the accordion experienced significant changes that would change the instrument’s destiny, its practice, sound range and potential. One of these changes was the creation of a converter system that opened doors to performance on this instrument, such as: hands independence, polyphony realization, new compositions, technical and artistic development of the performer’s skills. In addition to highlighting the mechanisms and aspects related to the performance of the converter system, the study discusses some techniques common in modern accordion compositions (clusters, glissando, ricochets, vibrato, portamento, percussion effects, etc.) and ways of their notation, identifies benefits and limitations of performing different types of articulation and sound effects on the instrument. It is concluded that the use of the converter system in the accordion has expanded the range of possibilities of the instrument and made its study much more interesting for performers, composers and listeners; fruitful collaboration with outstanding masters (Sofia Gubaidulina, Edison Denisov, Franco Donatoni, LucianoBerio, Magnus Lindberg, MauricioKagel, ToshioHosokawa, Salvatore Sciarrino, Christopher Bochmann and others) led to the cultural rise of the instrument. Finally, the inclusion of the accordion with a converter system in the programs of chamber and symphony concerts has accelerated the process of introducing the accordion into classical music.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127861826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"National vocal tradition as a synthesis of composers’ and performance art (on the example of A. Ginastera’s creativity)","authors":"Sige Wang","doi":"10.34064/khnum1-61.09","DOIUrl":"https://doi.org/10.34064/khnum1-61.09","url":null,"abstract":"Statement of the problem. The study of the processes of synthesis of composers’ and performance arts is one of the relevant areas of modern music science. An important aspect of their manifestation is the national tradition, which has its own characteristics in different historical and cultural conditions. This is especially true of national music representing countries that are far from the European continent. These include Argentine music, in particular, the vocal one. The analysis of publications on the chosen topic shows that the issue of national manifestations in the art of music remains acute. In addition to academic musicological research (Lyashenko; Romaniuk), there are scientific works on the border of science and journalism (Gottlieb; Kelly & Mantere & Scott; Knox), where the context is modern cultural and civilizational processes. The study of national traditions, including vocal ones, in A. Ginastera’s music (Brakhman & Kononets; Dotsenko; Kryazheva; Chase; Schwartz-Kates; Carballo; Wylie) is mostly based on the analysis of the composer’s creative work, while the performance component is insufficiently studied. All the above determines the scientific novelty of the presented research, which has the purpose to reveal the composers’ and performance principles of A. Ginastera’s vocal creative work in the context of the specifics of the Argentine national vocal tradition. The methodological basis of the research units several thematic areas:the researches devoted to Argentine music (Kryazheva; Riggs; Schwartz-Kates), to the life and creative work of A. Ginastera (Brahman & Kononets; Dotsenko; Kryazheva; Carballo; Chase; Schwartz-Kates; Wylie), and to the issues of national traditions in composer and performance creativity (Lyashenko; Romaniuk; Kelly & Mantere & Scott), in particular, in the perspective of performance analysis (Nikolaievska). Results and conclusions of the research. In vocal music, national specificity reveals at several levels – the author-composer’ one (intoning, means of expression, stylistics), the stylistic one (historical, national, and musical style), the figurative-content one (more broadly – the cultural-mental one), and the phonic-articulatory one. A. Ginastera’s vocal creative work is a special synthesis of composer and performance rethinking of traditional Argentine music at the intonation and image level, which became the core of the Argentine national vocal tradition as a manifestation of the national “picture of the world”.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133977765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The theoretical fundamentals of the training the folk instruments orchestra conductor","authors":"Strilets Andriy","doi":"10.34064/khnum1-61.02","DOIUrl":"https://doi.org/10.34064/khnum1-61.02","url":null,"abstract":"Statement of the problem. The relevance of the topic is due to the current state of the training of the folk instruments orchestra conductors in the system of higher art education. High achievements of the modern Ukraine folk-academic musical art have significantly increased the requirements for a conductor as for a creative personality. However, currently the scientific sources devoted to the training of the folk instruments orchestra conductors are focused on certain professional components and presented in a small number (Murza, 2021; Gorbal, 2019, Biasutti, 2013; Adenot, 2015, and some others), and theoretical foundations of such training are barely presented in modern domestic scientific literature. The objective of the study is the theoretical recognizing and conceptualizing of the training process of the folk instruments orchestra conductor. The development of the topic required an interdisciplinary synthesis, including an appeal to the psychology of creativity, and the use of methods of activity, interpretive, communicative analysis. For the first time the methodic fundamentals of scientific and professional training of a young conductor is systematized in the study. Results. The article contains thematic blocks devoted to the conductor’s activity in the higher art education system (“Organizational principles”, “Content of conductor’s training”) and to the components of conducting activity (“Technology. Psychology. Conductor’s interpretation. Conductor’s thinking”). It was found that the content of the conductor’s training is revealed through the algorithm of conductor’s practical activity. The definition of the term “conducting” is given. It is proved that the specifics of the conductor’s activity at all its levels are revealed through interpretation as a way of thinking, ensuring the conceptualization of the latter in all participants in the creative process. Conclusions. The theoretical principles of the training of the folk instruments orchestra conductors are conceptualized as a system of three obligatory components: “conducting technology – psychology of a creative process – conducting interpretation”; its functioning ensured by organizational work. The qualitative result of the action of the specified system is the final insight leading to the fact of a concert performance revealing a high-level professional complex. All the aspects of the conductor’s practice are related to the processes of, on the one hand, performing thinking, on the other hand, communication. Conductor’s work as a guarantee of the success functioning of the orchestra provides a communicative connection between the music being represented and the listener. Quality sound and positive communication brings the training orchestra a different, higher status. In such conditions the creative maturity of each of the participants and especially the conductor’s one is being acquired. It must be mentioned that the proposed algorithm for the analysis of the conductor’s prof","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128308677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"G. Cziffra in Beethovenian context of the twentieth century","authors":"Chorna Yelyzaveta","doi":"10.34064/khnum1-61.05","DOIUrl":"https://doi.org/10.34064/khnum1-61.05","url":null,"abstract":"The celebration of L.VanBeethoven’s 250th anniversary stimulated an already sustained interest in his creative heritage. Musicological thought has not stayed away from the figure of the outstanding Viennese classicist. Therefore, the question of the interpretation of his works again becomes relevant in this context. The name of György Cziffra, the famous twentieth-century Hungarian pianist, is closely linked in the history of European pianism with the element of virtuosity, at first, with F. List’s music presentation. The difference opinions about Cziffra’s interpretations of other composers and Beethoven among them, as well as unexplored peculiarities of the pianist’s interpretation of Beethoven’s music actualize the choice of our theme and determine the scientific novelty of the research results. The purpose of the article is to reveal the parameters of G. Cziffra’s individual performing style in historical context of the twentieth-century Beethovenian. For the first time in Ukrainian musicology, the creative principles of the Hungarian pianist as an interpreter of Beethoven’s works on the example of the composer’s “32 Variations” in C minor are analyzed; some parallels between the performance principles of Hungarian master and the composer himself are outlined. The methods of a stylistic analysis in projection to the performance art, as well as on a comparative approach, which allows to reveal the uniqueness of Cziffra’s interpretation of Beethoven’s music text, were applied. Analyzing the Hungarian pianist’s performance of the “32Variations” cycle, we heard a new interpretation of Beethoven’s ‘heroic’ character, but we did not observe any emphasis on virtuosity for the sake of itself, but rather a musical intellectuality took place. It is the subtle nuances, strokes, tempo, character and the rich palette of articulations that determine the Hungarian pianist’s performance style. Summarizing, we can observe, on the one hand, Cziffra’s own ‘romantic’ individualized interpretation of Beethoven’s music in the 20th century, and, on the other hand, some parallels, although less evident, with the specific features of Beethoven’s own performance style.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130022471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Performance and existential chronotope of clavier sonatas of the late Baroque and Classicism","authors":"Tarabanov Anatolii","doi":"10.34064/khnum1-61.03","DOIUrl":"https://doi.org/10.34064/khnum1-61.03","url":null,"abstract":"Some spatial-time characteristics of the selected keyboard sonatas by D. Scarlatti, С. P. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi are revealed from the viewpoint of a piano performer. The term “chronotope”, used in the research, is interpreted in two main meanings: as an existence of the piano sonata phenomenon in space-time continuum in the context of listeners’ perception and comprehension, as well as a specific performer’s feeling of time and space in sonatas by the mentioned composers. The purpose of the study is to identify the peculiarities of the performance chronotope of these works that are relevant for the modern pianist in the context of social existence and the demand for the sonata genre in the 21st century, including attempts of its authentic interpretations, on the basis of the analysis and concert performance of selected clavier sonatas of the late Baroque and Classicism epochs. Experimental8 and analytical research methods with elements of comparativistics allow examining the chronotope of the selected keyboard sonatas in the whole creative-scientific process that determines the scientific novelty of the study. Results. Today, the problem of perception of musical classics in terms of preparedness of the listener, their ability to decipher the “sign system” of a musical work is very relevant. There are also not enough listeners of academic music, if taking into account all those people with an access to concerts halls and Internet. Therefore, attention of broad public to academic music is to be aroused. One of the most crucial places in solution of this problem belongs to the sonata genre as an organizing basis opposing contemporary human society multidirectional dissipation. With regard to its perfect structured composition principles, the piano sonata can be of great importance for the reconstructing of architectonic thinking patterns in listener’s minds. In order to fulfill such a difficult task successfully, a lot of new live performances of proficient pianists are needed. This can help the audience gain listening experience and attract probable admirers to their own musical practicing. Some characteristics of the performance chronotope of baroque and classical sonatas, such as interaction and interbalancing of statics and dynamics; organizing function of performance time in music forming; metrorhythmic performance inertia; continuity of the music thought development, necessity of performer’s anticipation, were defined with the help of the experimental-analytical method. Conclusion. The found characteristics of piano sonatas chronotope can be used both on the stage of conceiving a mission of music interpretation and during musical trainings and a concert performance itself.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116506481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Individual performance style of а soloistvocalist in the communicative space оf a pop vocal ensemble","authors":"Klimova Oksana","doi":"10.34064/khnum1-61.06","DOIUrl":"https://doi.org/10.34064/khnum1-61.06","url":null,"abstract":"Statement of the problem. The article examines the role of individual performance style of a soloist-vocalist in the communicative space of a modern pop vocal ensemble. The analysis of recent publications on the topic (I. Yarkina, 2016; E. King, 2013; C. Lim (2014); O. Sidorenko (2018), L. Shapovalova & Y. Nikolaievska, & N. Mykhailova, & I. Romaniuk, & A. Khutorska, 2021; Y. SavchenkoShlapak & R. Savchenko, & Q. Pan, 2021; T. Sidletska, 2018 and others) demonstrates that the issues of communicative processes in a pop vocal ensemble stay unlighted today and require of active development. The purpose of the study is to define a role of a soloist-vocalist personality in the communicative space of a modern pop vocal ensemble basing on the analysis of the famous pop vocal quintet “Pentatonix” soloists activity. The main tasks of the study are: to analyze the individual performance style of the «Pentatonix»’ soloists-vocalists; to define the role of each in formation of a holistic scenic character of the group; to generalize the main idea about the influence of an individual performance style on the formation of a communicative space of a pop vocal ensemble. In the research process the comparative-analytical, genre-style, intonation, structural-functional, empirical methods were used. Results. The analysis of the individual performance style of each soloist of the “Pentatonix” ensemble demonstrates its direct influence on the formation of the general image of the ensemble. The musical performance becomes more spectacular and impressive due to the successful functioning of the solo in the communicative space of the pop ensemble. The involvement of the public in active participation in the performance by using the peculiarities of the individual performance style of the soloists joints the performer to the individual psychical experience of each spectator, overcomes the barrier that separates the artistic and spectator space, that allows to feel the connection of each in unique atmosphere of the event. It is one that essentially rises the level of popularity of a musical collective and helps to its recognition by public, whose reaction is a most impotent criteria of artist success in the variety performing. So, in conclusion we come to the declaration that the category of the individual performance style occupies a determine position in communicative activity of a pop ensemble and is a main instrument forming the communicative connections of ensemble’s members.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120948229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rao Yuyan’s polyphonic works for piano in terms of performance","authors":"Mengzhe Zhang","doi":"10.34064/khnum1-61.11","DOIUrl":"https://doi.org/10.34064/khnum1-61.11","url":null,"abstract":"Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works of the composer are considered in the aspect of performance realization. The purpose of the study is to determine the most important performance principles and set of performance tasks in Rao Yuyan’s polyphonic works for piano. The article bases on Rao Yuyan’s piano works “Introduction and Fugue” (1956), the suite “Sketch of Life in Yan’an” (1963), “Prelude, Fugue and Chorale” (1964) and “Three Polyphonic Pieces on the Ancient Music of Chang An” (1992). The article uses historicaltypological, structural-functional, comparative, intonation and interpretative methods as necessary for performance analysis. The fundamental theoretical positions of Chinese polyphonic musicians (Su Xia, Ding Shande, Chen Mingzhi, Duan Pintai and others) uses, and Rao Yuyan’s theoretical works devoted to polyphony has particular importance. The issues of pianistic realization takes in account the polyphonic principles considered by Ying Jiang, Bai E. Results and conclusions of the research. RaoYuyan’s beautiful piano works have a great art value, they became a significant contribution to Chinese art of the 20 century. We can even define Rao Yuyan’s role as a creator of national polyphony who modernized the ancient national musical legacy. Rao Yuyan’s piano works discussed in this article use almost all known types of polyphonic techniques of Western music. The vividly example of it is the double fugue from the cycle “Prelude, Fugue and Chorale” or the last number “Weeping Willow” from the series “Three Polyphonic Pieces on the Themes of Chang An Ancient Music”, where the sort of “cantus firmus” technique – “basso ostinato” is used. In the piece “Sunrise” from the piano suite “Sketch of the Life of Yan’an” the polyphonic texture becomes almost like to consonant sonority. At the same time, the laconic themes used in the Suite call upon the thought that J. S. Bach was a spiritual teacher of the composer. However, the composer borrows his main ideas from the Chinese folk musical tradition. Rao Yuyan was well versed in traditional fugue techniques, however, in the cycles “Introduction and Fugue” and “Prelude, Fugue and Chorale” he included the local national musical elements to emphasize their cultural identity. Among the main pianistic tasks facing the performer of polyphonic works of Rao Yuyan – the development of clear auditory attention, the idea of the general form of the work. Th","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127963362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"І. Stravinsky’s orchestral writing of Neo-Classical and serial (late) periods: comparative analysis","authors":"Savchenko Hanna","doi":"10.34064/khnum1-60.02","DOIUrl":"https://doi.org/10.34064/khnum1-60.02","url":null,"abstract":"Statement of the problem. Neo-Classical and serial (late) periods of I. Stravinsky’s creativity are marked by the shifts in his musical language, which found their reflection in his orchestral writing. “Universals” of style and genre (term of Savenko (2001: 105–163) retain their relevancy. Constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) are used in different combinations. Analysis of recent research and publications. While there are numerous studies devoted to I. Stravinsky’s Neo-Classical and serial (late) periods, no works have composer’s orchestral thinking and orchestral writing as an object of special examination. Thus, scarce studies regarding aspects of composer’s orchestration become even more valuable: about orchestral texture (Schnittke, 1967; Schnittke, 1973, Savenko, 2001; Kashyrtsev, 2020), or interpretation of timbres (Savenko, 2001; Savenko, 2011, Kashyrtsev, 2020), or interconnection of orchestral and harmonically-modal thinking (Gurkov, 1987), or editions (Timofeev, 2014; Timofeev, 2019). The purpose of this article is an examination of specifics of I. Stravinsky’s orchestral writing from the standpoint of peculiarity of application of constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) in the ballet “Jeu de cartes” and the Variations (Aldous Huxley in Memoriam). The novelty of the article is caused by: 1)reveal of beforementioned principles; 2) examination of their existence in evolutionary perspective; 3) bringing attention to relevant problems of orchestration in I. Stravinsky’s works of Neo-Classical and late periods of creativity; 4) formulation of original scholarly definition of the term “orchestral writing”. Methods. In this article stylistic method is used – to study evolutionary processes of composer’s style in dialectic unity of constant and innovative; functional – to examine specifics of functional organisation of orchestral texture; comparative – to reveal different ways in which constant principles of orchestral writing are used on different stages of composer’s evolution. Results and Conclusions. Constant principles of orchestral writing (multifigure composition, combinatorics and plastique), which have already emerged in the primary period, are present in the works of Neo-Classical and late periods in different configurations of their relations. In the ballet “Jeu de cartes” multi-figure composition loses its role in comparison to the early works and is applied hidden due to: 1) motive variants (with the motives being stressed by timbre, texture or register); 2) textural complementarity (which means that multiple figures are used in timbrally-textural algorithm); 3) creation of “protracted” melody, in which the role of motivic “formula” is reduced (which is typical for I. Stravinsky’s Neo-Classical period). At the same time, continuity emerging in Neo-Classical works meets the tendency towards discretion due to influen","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125863667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ukrainian carillon arrangements as an instance of the cultural transmission and adaptation","authors":"Riabchun Iryna","doi":"10.34064/khnum1-60.03","DOIUrl":"https://doi.org/10.34064/khnum1-60.03","url":null,"abstract":"The development of carillon art in Ukraine is studied. The distribution of carillons in Ukraine is considered. The issue of creating a national carillon repertoire is investigated. The interactions between the Western European instrument and the Ukrainian national music are analysed. Possibilities in reflecting the peculiarities of Ukrainian folk song by means of carillon texture are shown. Analogies are made between the texture of the carillon and the ways of playing typical instruments of Ukrainian folklore. Methods of combining Ukrainian and Western musical vocabulary, laid down by M. V. Lysenko, are used: a list of Ukrainian folk genres that can be compared with European genres included in the European musical lexicon is given. The structure of the Ukrainian national repertoire for the carillon is outlined and a plan of the corresponding manual is given. The significance of the development of Ukrainian carillon art for the world musical practice is analysed.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121962291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}